The only time I have ever been a consistent coffee-drinker was during high school, when a daily cup sustained me through hours spent hunched over my desk struggling through math homework. (Perhaps the resulting associations form part of the reason I have not been a coffee-drinker since.) Unlike my humanities studies, math never came easily for me; it was my homeschooling mother’s commitment to academic rigor rather than any personal motivation that ensured its prominent place in my curriculum each year until I graduated.
To recreate is a harder task than to create.
Four chapters into our latest read-aloud, The Scarlet Pimpernel, the ninth-grade student whom I was tutoring spontaneously commented, “This is a really good story . . . it keeps you wondering what’s about to happen!” Heartily assenting, I turned the page to begin the next chapter of mounting mystery. But hours later, having left behind the novel’s Parisian streets and English inns, that comment echoed within the very different setting of my twenty-first century suburban preoccupations and pronounced an epiphany to my hard-hearing ears.
As summer days speed by, and a new year’s round of classes draws nearer, teachers have the leisure—so often pressed out amidst the demands of the school year!—to think more broadly and deeply about the content, method, and objectives of their courses and teaching practices.
Classicism fits comfortably in the city, with its suggestions of the polis, arts, architecture, academia, and culture; and it fits comfortably in the country, with its evocations of quietude, contemplation, tradition, and permanence. But in the suburbs—the place, increasingly, that most of us call home—isn’t classicism rather an ill fit? Can it be taught, practiced, and lived out, with integrity, in the landscape of strip malls and subdivisions?
“Kids can smell morals. And they smell like Brussels sprouts.”
That line summarizes, more pithily than most, the general attitude towards “preachy children’s books” reflected in a cursory Google search. It comes from an article by a published author giving tips for writing children’s books, and most articles of that sort seem to include, fairly high on the list, the admonition to avoid preachiness at all cost.
Among my most vivid teaching memories are scenes from my first day of classes. Just a few months distant from the libraries and lecture-halls of college, I stepped into the classroom, my scribbled lesson plans ready at hand.
Often, when a conversation leads me to explain why I love teaching, I find myself saying something about the ways that my education shaped me, about the shaping power I believe education possesses, about the wondrous opportunity the classroom provides for shaping the lives of students. Only recently did a wry comment from my husband prompt me to probe the metaphor I’ve hitherto used so glibly: “Doesn’t say much about what shape they end up in,” he said.
This darkest day of the church year is fraught with harsh paradoxes: the crowds that hailed Christ as king mere days ago now cry for his crucifixion; the only perfect Man is condemned as a criminal; the sins of the all the world’s time and space are expiated at the point of a cross in the hours of a death; the eternal God perishes; and this Friday of deepest tragedy is yet called “good.” But T.S. Eliot contemplates another paradox in his poetic meditation on Good Friday from The Four Quartets: the mystery of our healing at the hands of a wounded Savior.
Along with the treasuries of church liturgies, sacred music, special meals, and supremely, Scripture’s Passion narratives, poetry can aid the remembrance and contemplation we seek during the high days of Holy Week. This will be the first of several poem postings offered as Holy Week meditations, each including a brief guide to the poem before presenting the poem in full.